OSMOJAM
Q How did the feeling of being “out of sync” energize you as you composed “Décalage”?
As usual, I started by thinking about the sound atmosphere and rhythm of the piece. I wanted something simultaneously syncopated and ethereal, evoking a sense of strangeness, transience, and even a touch of the supernatural. In hindsight, I think the initial idea stemmed from my longstanding love for R&B, new jack, soul, and hip-hop culture, even though I’ve always felt slightly out of step within it. In the past, some people have pointed out a certain “too mathematical” quality to my flow and arrangements, a lack of spontaneity. Also, most of the time, I find myself in environments where a part of me never quite fits in. With “Décalage,” my aim was to fully embrace this quirkiness, creating a fictionalized version of myself moving confidently through uncertainty and anonymity. I also wanted to avoid using too many words and chords as camouflage, instead thinking more in terms of space and even silence.
Q Was it difficult for you to be self-revealing about your vulnerabilities, as when you speak of your Achilles’ heel?
Not really. It felt quite natural to write about my insecurities, perhaps because, in “Décalage,” I’m trying to show (or maybe convince myself) that these weaknesses can be transformed into quiet strengths. Plus, I deeply appreciate the connection I feel when I encounter work that captures other artists’ insecurities. I see this as a tremendous gift, though I think it’s often weaponized by the music industry and cultural institutions to numb audiences.
Q What does hiding or anonymity mean to you on a personal level?
I think it’s an underrated form of protection that we should nurture more. Anonymity can be a safe place. Of course, I’m not talking about the anonymity used by trolls online to spread hate, but rather the kind that allows artists to connect deeply without exposing their entire identity. I admire artists like Daft Punk, Underground Resistance, and H.E.R. (early in her career), who managed to create relatable art without showing their faces.
Q Is being “always out of sync” hurting, or is it now also a part of you?
Over the years, I’ve worked on accepting this feeling of disconnection with more kindness. It can still be uncomfortable, but I’ve found that balancing it with activities I enjoy doing alone – like wandering around the city – helps.
Q In “Décalage,” you seem to be embracing the status of being in the background — how does this reflect your life or art mindset?
I wanted to push back against the mainstream obsession with self-promotion and self-entrepreneurship. These aren’t natural impulses, and there’s a reason they often feel forced. I’ve been thinking a lot about live music performances and how their absence can marginalize some artists. I haven’t performed solo in a long time, instead focusing on beatmaking and collaborating with other artists. I’m also taking amateur percussion classes, which is reshaping my relationship with music – making it feel less professional, more fluid, and surprisingly liberating.
Q When you wrote about keeping your senses in orbit, were you thinking about emotional distance or something else?
Actually, I used this image to convey how embracing doubt and uncertainty can open up a whole new world of possibilities. Right now, more than ever, we need to unleash our imaginations to challenge inequality, alleviate suffering, and resist the monsters we’ve been told for too long belong only to the past.
Q How do you wish people who listen to “Décalage” to feel?
I hope they feel intrigued – which is no small feat, given the overwhelming amount of music released today and the resulting saturation.
Q Did the songwriting process allow you to understand or accept your feeling of being out of sync a little more?
Yes, it definitely helped. I believe any form of artistic expression brings us closer to understanding who we really are. You don’t need a special status or title to do this. The American writer, feminist, and civil rights activist Audre Lorde once wrote in a famous essay, “Poetry is not a luxury.” That resonates deeply with me. Songwriting, and writing in general, especially when done purely for oneself, can be profoundly transformative. All you need is a pen and paper. How marvelous is that?
Q How did you decide on the soft, almost serene tone that you use to discuss loneliness?
Honestly, it just came naturally once the instrumental was finished. I collaborated with Aayhasis, a very talented French beatmaker, for this piece.
Q What was the most challenging part for you in creating the lyrics of “Décalage”?
Finding the right balance between simplicity and subtlety, making the lyrics groove effortlessly with the beat. I hope I’ve managed to strike that balance.
Q Do you think being “out of sync” makes you perceive things that others possibly don’t?
I’m not entirely sure, but it definitely makes me reflect on social norms and how they can be harmful.
Q How did you imagine the listener while creating and writing down the lyrics of “Décalage”?
To be honest, I wasn’t really thinking about the listener. I was more focused on staying true to myself and simply enjoying the creative process.
Q What are personal little victories that you celebrate when you manage to stay in your own rhythm, even though it is not the same as others?
I feel a deep sense of joy when, despite moving at my own pace, I still manage to connect with others on a profound level, often without the need for words. It’s even more satisfying when I had no expectations to begin with.
